The Mysterious Fayum Portraits

The Fayum portraits were created by the people of a flourishing district of Roman Egypt during the first three centuries AD. In the old Egyptian tradition, these people embalmed the bodies of their dead, but then they placed over the mummy, a painted portrait to preserve the memory of each individual. Over 1000 portraits have so far been discovered of men, women and children.

A compact edition of this highly acclaimed survey of the Fayum paintings, the enigmatic and compelling funerary portraits created by the inhabitants of Roman Egypt in the first century CE.

From the first major discoveries a century ago, the painted portraits of Roman Egypt were a revelation to scholars and the public alike, and the recent finding of a new cache of these gilded images, which made national headlines, have only heightened their mystery and appeal. Published to coincide with a new major exhibition of these portraits, Ancient Faces is the most comprehensive, up-to-date survey of these astonishing works of art. Dating from the later period of Roman rule in Egypt, shortly before the birth of Christ, the painted mummy portraits are among the most remarkable products of the ancient world, a fusion of the traditions of pharonic Egypt and the Classical world. They are historical and cultural objects of outstanding importance and beauty, superb works of art that represent some of the earliest known examples of life-like portraiture. Though the subjects of the portraits believed in the traditional Egyptian cults, which offered them a firm prospect of life after death, they also wished to be commemorated in the Roman manner, with their fashion of dress and adornment signaling their status in life. Despite their ancient history, these portraits speak to the modern eye with a beauty and intensity that would be lost to portraiture until the Renaissance.

This publication presents fascinating new findings on ancient Romano-Egyptian funerary portraits preserved in international collections. Once interred with mummified remains, nearly a thousand funerary portraits from Roman Egypt survive today in museums around the world, bringing viewers face-to-face with people who lived two thousand years ago. Until recently, few of these paintings had undergone in-depth study to determine by whom they were made and how. An international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and to gather scientific and historical findings into a shared database. The first phase of the project was marked with a two-day conference at the Getty Villa. Conservators, scientists, and curators presented new research on topics such as provenance and collecting, comparisons of works across institutions, and scientific studies of pigments, binders, and supports. The papers and posters from the conference are collected in this publication, which offers the most up-to-date information available about these fascinating remnants of the ancient world. The free online edition of this open-access publication is available at www.getty.edu/publications/mummyportraits/ and includes zoomable illustrations and graphs. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.

These extraordinary Egyptian images produced from Julio-Claudian times through the age of Constantine (the first four centuries A.D.), seem often to have been commissioned while the subject was still alive and displayed in the home. At death, the portrait was inserted into the deceased’s mummy wrappings. Thirteen mummy portraits from the Getty Museum’s collection are catalogued in this text by Dr. David Thompson, professor of Classics at Howard University. Placing the works in the context of other so-called Fayum paintings, Dr. Thompson examines their importance as portraits and identifies the hands of individual painters. Numerous illustrations accompany his discussion.

From Booker Prize-winning author John Berger, a collection of essays that explores the relationship of art and artists and includes examinations of the work of Brancusi, Degas, Michelangelo, and Frida Kahlo, among others. The pocket in question is a small pocket of resistance. A pocket is formed when two or more people come together in agreement. The resistance is against the inhumanity of the New World Economic Order. The people coming together are the reader, me, and those the essays are about–Rembrandt, Paleolithic cave painters, a Romanian peasant, ancient Egyptians, an expert in the loneliness of a certain hotel bedroom, dogs at dusk, a man in a radio station. And unexpectedly, our exchanges strengthen each of us in our conviction that what is happening in the world today is wrong, and that what is often said about it is a lie. I’ve never written a book with a greater sense of urgency. –John Berger

Nicholas Reeves’s radical interpretation of a revolutionary king—now available in paperback. One of the most compelling and controversial figures in ancient Egyptian history, Akhenaten has captured the imagination like no other Egyptian pharaoh. Much has been written about this strange, persecuted figure, whose depiction in effigies is totally at odds with the traditional depiction of the Egyptian ruler-hero. Akhenaten sought to impose upon Egypt and its people the worship of a single god—the sun god—and in so doing changed the country in every way. In Akhenaten, Nicholas Reeves presents an entirely new perspective on the turbulent events of Akhenaten’s seventeen-year reign. Reeves argues that, far from being the idealistic founder of a new faith, the Egyptian ruler cynically used religion for political gain in a calculated attempt to reassert the authority of the king and concentrate all power in his hands. Backed by abundant archaeological and documentary evidence, Reeves’s narrative also provides many new insights into questions that have baffled scholars for generations—the puzzle of the body in Tomb 55 in the Valley of the Kings; the fate of Nefertiti, Akhenaten’s beautiful wife; the identity of his mysterious successor, Smenkhkare; and the theory that Tutankhamun, Akhenaten’s son and heir to the throne, was murdered.

A complete introduction to the rich cultural legacy of Rome through the study of Roman art ... It includes a discussion of the relevance of Rome to the modern world, a short historical overview, and descriptions of forty-five works of art in the Roman collection organized in three thematic sections: Power and Authority in Roman Portraiture; Myth, Religion, and the Afterlife; and Daily Life in Ancient Rome. This resource also provides lesson plans and classroom activities."--Publisher website.